The Highveld website came on in leaps and bounds. I sent off a wave of e-ms to tell the client list of its existence and the opportunity to see where the money went - BBC1 Thursday 10.35pm - and started to get some reactions. Peter said he would make a digital copy off air. Still more to do.

I made reasonable progress with the German Industrial Strategy document and got some encouraging feedback on the paper I gave in Brno - ie a request to use the material. They were asking for volunteers to go to Hungary for a week and advise on their business advice service development strategy - no qualms about putting myself forward.

Tomorrow I go to Rotterdam and then fly back on Thursday evening - I trust in time for the Mandela interview broadcast.Then there's a series of activities in the Guildford area for about a week or so. Friday to Worthing to talk about possible developments in car assembly technology. Tuesday I am meeting one of the largest UK owned automotive firms in terms of UK workforce - one of their factories is in Guildford. Then on Wednesday and Thursday Steve and Stephan will be here and we are trying to put together a programme covering Surrey University - I mailed my neighbour Peter (prof Ergonomics) about this plus Phil who teaches Engineering - Guildford College are definite - maybe Worthing or the Guildford auto company and the Regional Development Agency. Its a kind of concensus/alliance forming activity.

Richard Jones - Climax Chicago Blues Band - mailed.

Mark's description of the internal pressure to create music is very accurate to my experience. I liked the panorama visual too.

The subject of music teachers is a good one - also the issue of how and why we learned music - maybe not from teachers as such.

We you spent a time fluxing about here a few months back. Nice to see the Wire joining in:-

" Masculine sentimentality is common in jazz ballads, a maudlin feeling of wounded withdrawal that passes for romanticisim. Its hard to enjoy jazz without accepting this. Alice Coltrane's sentimentality is a more mystical yearning for the new age. The feeling of being overwhelmed by the cloud of unknowing is pivotal in her work, The oceanic immersive force of her work is thrilling. "This cosmic libido or oceanic sensibility is intimately connected with le ecriture feminine" wrote Joy Press and Simon Reynolds in The Sex Revolts, "writing that priveliges flux and fluidity.""

In other words not Beethoven endlessly banging on trying to knock some sense into a few riffs.